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My third post about typography in sci-fi has been gestating for a while now. Indeed, it's been slowly taking shape – you might say it's been forming itself inside of me – for really quite some time.
I'm delighted to say that it is now ready to burst forth from my allegorical chest, and to spatter allegorical typographic blood all over your allegorical faces. Welcome to Typeset In The Future: The Alien Edition.
The opening credits for Alien are nothing short of a typographic masterpiece. You can watch them in their entirety on the Art Of The Title web site, but here's the general gist: a slow, progressive disclosure of a disjointed, customized Futura reveals the movie's central theme over 90 seconds of beautifully-spaced angular lettering.
UPDATE: Susan Bradley (and others) have pointed out that this is much more like Helvetica Black than Futura. I'd based my original claim on Art Of The Title's interview with the creators, despite a mismatch when I checked it against Futura myself. However, after a detailed comparison with Helvetica Black, I tend to agree with Susan. Thank you for the correction!
(Before I show you how it looks, I should provide a sizable caveat: I got a lot of grief following my Moon article for spoiling that movie's central twist. So, if you don't want to know the extra-terrestrial nature of the central antagonist in Alien, close your eyes now.)
Here we go.
Can you tell what it is yet?
It's looking pretty angular.
And beautifully mirrored, at least along the y-axis.
Well, that was unexpected. I'm still none the wiser, mind.
WAIT A MINUTE. I might have an idea where this is going.
Oh, no, I was wrong. Still, that new line is almost certainly completing the middle part of a W, yes? (It certainly looks like two strokes and a crotch, at least from where I'm standing.)
WAIT ANOTHER MINUTE. Crop. Zoom. Enhance.
I hate to say it, but a little bit of the bar on this capital A (for it is he) has been allowed to bleed out into the unfolding titles. Talk about typographic spoilers. Look really closely and you'll see what I mean:
That's totally going to become a capital A, isn't it? God, that's ruined everything. In fact, I wouldn't be at all surprised to discover that this entire credits sequence is going to end up spelling the word ALIEN:
Right you are, then. Let's get on with it. (For those of you with your eyes closed to avoid spoilers: you can open them again now.)
After all that Futura-ish beauty, it's a little disappointing to see a follow-up card introduce commercial towing vehicle The Nostromo with some slightly fuzzy Helvetica:
This title card from Alien is an example – possibly the Ur Example – of a popular sci-fi trope, the Foreshadowing Inventory. Seven crew, you say? Hmm. Seven. Let's hope nothing disastrous happens to them, one by one. And their course is set for a return to Earth, eh? Well, I'm sure that's the likely outcome for this particular story.
The Foreshadowing Inventory crops up in other movies too, such as the opening card from Moon:
A crew of one, you say? And there for only three years? Interesting. I wonder if these facts will turn out to be significant to the plot?
A final point on Alien's Foreshadowing Inventory: hmm. That's a nice twenty million tons of mineral ore you've got there. It would be a shame if something were to… happen to it. (We do like a good bit of typographic foreshadowing here at TITF.)
Let's take a look on board the Nostromo. The opening shots of the craft give some tantalizing glimpses of its wall-based iconography:
These icons are the work of cinematic design legend Ron Cobb. He named them the Semiotic Standard For All Commercial Trans-Stellar Utility Lifter And Heavy Element Transport Spacecraft. The production sketches below are from Cobb's 1981 collected works, Colorvision:
My favorite is #23 – "COFFEE":
"Semiotics", of course, is "the study of signs and symbols, and their use or interpretation". (I could just as easily have called this blog Semiotic-matic.)
You might have noticed that these icons bear a striking resemblance to the rounded rectangles used for modern app iconography. Indeed, design company The Iconfactory has recreated the Semiotic Standard as a beautiful set of iOS app icons. It could be argued that Cobb provided the inspiration for rounded-rectangle iconography some 28 years before Apple made it the standard on the iPhone. (Although tegestologists may well argue their case too.)
A quick glance back over the iconography of Moon shows that (like many sci-fi movies) it owes a large debt to the Semiotic Standard:
On the subject of iconography: the set of Alien was actually built as a single sprawling series of interconnected rooms, just like the set of Moon. Here we have the Nostromo's Control Room at the top of the photo, connected to the Central Corridor below:
I like to think that the Semiotic Standard served a practical purpose for the cast, helping them to navigate around the Nostromo as they made their way through filming.
In addition to the Semiotic Standard, Cobb was also responsible for the final design of the Nostromo itself. Let's continue on our tour of his creation.
The crew are noticeable by their absence at the start of the movie, as reinforced by this Helvetica-monikered EMERGENCY HELMET:
(At least, I say it's Helvetica – the G is dead cert, but the second M looks more like Futura. Either way, let's hope there'll be no need for emergency helmets.)
The Nostromo's computers blip into life unexpectedly. You can tell they are the Nostromo's computers, because they say Nostromo 180924609 on their boot screen. On this occasion, I don't recognize the font:
The ship's registration number is contracted on the next on-screen display:
This screen lists the ship as the Weylan Yutani Nostromo 180246. (Eagle-eyed viewers will have spotted that subsequent Alien films name the company Weyland Yutani, not Weylan Yutani.)
Furthermore, this screenshot shows that the Nostromo has a refinement capacity of "200,000,000 tonnes", and not the "20,000,000 tons" mentioned in the Foreshadowing Inventory. That's not just a factor of ten out – it's also an entirely different unit of measurement.
UPDATE: Several commenters have noted that potential cargo capacity isn't the same as current cargo, and that the refinery might just be mostly empty. A confession: I realized that myself when writing the article, and was rather hoping that no-one would pull me up for it. Given the audience for this blog, I really should have known better. There's still the more fundamental problem of tons vs tonnes, however, as I go on to explain…
If you're familiar with units of weight, you'll know that a ton is 2,000 pounds if you're American (known as a "short ton"), or 2,240 pounds if you're British (known as a "long ton"). Conversely, a tonne (also known as a "metric ton") is precisely 1,000 kilograms, which is roughly 2,205 pounds.
At this point, you might be thinking: "Wait – why are we talking about units of measurement? Why should I, Joe or Jane Blog-Reader, care about a typographic anomaly in the measurement units of a space-based computer?"
You really should know the answer to that by now. Typography is always important.
Here's a map of all of the countries in the world that still use pounds as their primary unit of weight:
And here's a map of all of the countries that don't:
That's right – pounds are used by Liberia, Myanmar, and popular space-faring nation The United States of America. And by no-one else AT ALL.
And here's why you should care. In September 1999, NASA lost its Mars Climate Orbiter craft, ruining a mission that cost over 655 million dollars. The reason for this loss? One part of the Orbiter calculated propulsion in the Imperial system of pound-seconds of thrust, whereas another part used the international standard metric system of newton-seconds of thrust. This caused the Orbiter to gradually deviate from its intended trajectory, and disintegrate in the Mars atmosphere. (And the bit that worked in pound-seconds wasn't made in Liberia or Myanmar.)
An aside for future-thinking Alien fans: should you ever need to nuke a planet from orbit – it's the only way to be sure, after all – then don't worry yourself about the number of megatonnes that your nuke's detonation will create. Megatonnes aren't based on any of the units mentioned above.
But enough about massive nuclear explosions – we won't be needing any of those. Let's get back to the Nostromo.
The ship's crew awake from hypersleep, only to discover that they're not on course for Earth after all. (Damn you, Foreshadowing Inventory!) Star charts are consulted, as they try to work out what's going on:
This screenshot contains not one but four details of note. The first is some random text on the right-hand monitor screen:
Well, I say random… it may be significant that the text includes the phrase D GILER. (That name might sound familiar.)
The second item of interest is that packet of cigarettes:
Although it's less clear-cut than D GILER, it's significant that the actor who played the alien in Alien was none other than 6′10″ Nigerian design student Bolaji Badejo. The similarity of name may just be coincidence, however.
The third item of note is a coffee mug bearing the Weylan-Yutani winged logo:
This logo appears everywhere onboard the ship. Indeed, the Balaji Imperial cigarettes are about the only items that are not corporately branded. Clothing, containers, mugs, even cat dishes all display the corporate logo…
…as do bowls, storage drawers, and water dispensers:
Hell, even the beer is branded:
That's a 440ml can of Original And Genuine Extra Strong Weylan Yutani Aspen Beer. One thing's for sure – the Weylan-Yutani Corporation has employee wellbeing as their primary concern. (Yes, just like Lunar Industries.)
The fourth item of note in that screenshot from earlier is the monitor screen itself. A perennial challenge for any sci-fi film is to find a visual style that remains futuristic as technology marches on. The Nostromo's production design is a perfect example of used future chic, but shows the challenge of using physical display technology from the 1970s alongside film-based special effects.
Early in the film, we cut from a blurry, low-res shot of an Elite-like descent trajectory:
…to a hi-res animated display of the same descent:
Similarly, when Dallas (the ship's captain) visits the Nostromo's master computer (known as "MU/TH/UR") to find out what's going on, we cut from a low-res 4:3 CRT display:
…to a hi-res 16:9 text animation more reminiscent of The Matrix:
However, I've come to the conclusion that it's not the disconnect between these displays that's at fault. Rather, it's the presence of those cathode ray tube displays at all:
That curved screen shape immediately shouts "legacy technology". In 2014, seeing a curved CRT display in a futuristic spacecraft, rather than the ubiquitous flat LCD screens of today, feels somewhat archaic. This was a deliberate choice by the movie's design team at the time – they chose everyday CRT screens rather than high-tech flat screen displays, to match the rest of the Nostromo's beaten-up kit – but it dates the movie with hindsight.
Ironically, Stanley Kubrick's 2001: A Space Odyssey was made 11 years before Alien, and yet has screen technology that looks substantially more futuristic. In the late 1960s, when A Space Odyssey was made, computer graphics simply weren't good enough to generate the on-screen imagery needed for the Jupiter mission. As a result, all of the screen imagery was hand-animated, and projected onto flat surfaces:
The presence of flat screen displays throughout the Jupiter craft fits 2001's polished aesthetic perfectly, and makes the HAL 9000 displays feel futuristic even today.
(Interestingly, the makers of 2014's Alien: Isolation video game actually reverted to 1970's video technology to make the game feel more like the original movie. The game's menu screens were first rendered in software, then recorded on to VHS video tapes, played on a CRT display, filmed, and imported back into the game.)
One final typographic point of note: the on-screen display font for MU/TH/UR appears to be an optically stretched version of City Light:
This is most unusual, if only for being a serif (rather than sans-serif) on-screen computer font in a sci-fi movie.
As the movie unfolds, MU/TH/UR's behavior reinforces the TITF trend for untrustworthy space-based computers. We discover that MU/TH/UR is a Series 6000:
I'm sure that the 6000 Series has a perfect operational record – at least, going by the Gerty 3000 in Moon and the 9000 Series in 2001. I'd trust both of those computers until the end of my life.
Later in the movie, Ripley interrogates MU/TH/UR to find out the truth about the alien. MU/TH/UR's response is predictably chilling:
Damn you, untrustworthy space-based computers!
(A final bit of MU/TH/UR trivia: following my Moon post, conceptual designer Gavin Rothery told me that Moon's master computer was named "Old Man" – British slang for "father" – as a sneaky tribute to Alien. Nicely done, sir.)
In addition to the CRT displays, there's a second aspect of Alien's design that clearly dates the movie to the 70s. For the most part, the movie's costume design displays a timeless aesthetic for a working interstellar haulage crew:
The exception is Captain Dallas's jacket, which has the word "NOSTROMO" written on the back in Pump Demi:
Pump Demi was recently voted "Most 70s Font Of All Time" by the International Font Council. That's not actually true, but it might as well be. It goes to show that it's very hard to know which aspects of a design will still look futuristic in the future.
Pump Demi is also seen on the crew's nameplates in the main Nostromo cabin. You can recognize it from its freaky capital Y, even when blurry:
But enough about Pump. We saw earlier how an international mishap with measurement units cost NASA $655m. Alien goes one step further, with possibly the most expensive on-screen localisation error in the history of science fiction.
You'd think that the Weylan(d)-Yutani Corporation, as a large British / Japanese conglomerate, would be familiar with the need for precise translation and localization. However, you would be wrong, sir or madam. Very wrong indeed.
Let's rejoin Ripley onboard the Nostromo. As the last of her crew-mates are slain by the lurking xenomorph, Ripley realizes that the only option is an Emergency Systems Override to self-destruct the ship. She presses the EMERGENCY button marked PUSH…
…pulls the EMERGENCY lever marked PULL…
…unscrews the EMERGENCY screw…
…unscrews the other EMERGENCY screw…
…pulls two EMERGENCY levers, usefully marked ONE and TWO…
…and finally open the EMERGENCY hatch. (I'm not sure why there are four pulled levers in the background of this shot; Ripley only actually pulls two of them.)
This hatch gives access to the Emergency Destruction System:
Let's straighten up the screen to make it a bit more readable:
This beautiful (and by the looks of things, hand-painted) display contains yet more typographic foreshadowing. We learn that on activation, the ship will detonate in T minus 10 minutes. Moreover, the Failsafe Cut-Off System will not operate after T minus 5 minutes.
With those surely insignificant facts typographically established, let's take a look at the scuttle procedure itself. (For the uninitiated, "scuttling" is the nautical procedure of deliberately sinking one's own ship.)
Perhaps unexpectedly, the Scuttle Procedure instructions are presented in both English and French versions. Being American, Ripley naturally follows the English version. Here we see her tracing the English instructions with her finger:
Let's take a look at those English instructions in detail:
- Punch NUCLEAR BOLT CODE No 1
- Verify BOLT CLAMP release
- Perform INSERTION of BOLT No 1 to HOLD No 1
- Remove NUCLEAR HEAD
- Activate PUSH BUTTON SWITCH
- Replace NUCLEAR HEAD
- Verify SECURED
- Verify DETONATION ACTIVATED
- Repeat for HOLDS 2, 3 & 4
Ripley wastes no time in punching NUCLEAR BOLT CODE No 1:
…and INSERTing each NUCLEAR BOLT into its corresponding HOLD:
(Okay, so she skips the "verify" steps. But, y'know: lurking xenomorph.)
After the fourth NUCLEAR BOLT enters the fourth HOLD, an Ominous Clock starts counting down to T minus ten minutes:
The Ominous Clock is accompanied by an Ominous Voice, which reminds us that "the option to override automatic detonation expires in T minus five minutes." Let's see how that one plays out.
During the next five minutes or so, Ripley heads towards the Nostromo's shuttle to make her escape, with her cat, Jonesy, in a handy industrial cat box. Somewhere along the way, Ripley encounters the alien, directly between her and the escape shuttle she's trying to reach:
There's clearly no way through, and the ship is about to detonate. In her panic, she drops Jonesy, leaving him to his alien fate:
Ripley dashes back to the Emergency Destruction Room, desperately trying to stop the self-destruct process and give herself chance to escape. As she arrives at the Emergency Destruction Room, the Ominous Voice counts down the final seconds to inevitable failsafe cutoff.
Let's pause that countdown temporarily, and take a moment to put ourselves in Ripley's situation. There's an alien xenomorph with acid for blood running around a dimly-lit spacecraft, picking off your co-workers one by one. You're the sole remaining survivor. Your only form of defense is a single-canister flamethrower. You have thirty seconds to halt the self-destruct sequence for your spacecraft – and you've just gone and lost your cat.
I think it's fair to say that this is a stressful scenario.
Perhaps this is why, on arriving back at the ship-scuttling instructions, Ripley follows the French instructions with her finger, not the English ones from before:
And this is where it all goes horribly wrong.
Let's take a look at those French instructions in more detail:
- Poussez le NUCLEAR BOLT CODE No 1
- Vérifier CRAMPON de L'ACHEMENT
- Exécutez INSERTION/BOULON No 1 a la cale No 1
- Vérifier SÉCURITÉ du SOMMET NUCLEAR
- Vérifier SÉCURITÉ du SOMMET NUCLEAR
- Vérifier la DETONATION ACTIVE
Hmm… something something "NUCLEAR BOLT"… something something "SÉCURITÉ"… it certainly sounds plausible. But how do these compare to the English instructions we verified the efficacy of earlier?
For the first three steps, all is bon. But from instruction four onwards, things take a definite turn for the worse. The French instructions don't mention anything about removing the NUCLEAR HEAD, activating the PUSH BUTTON SWITCH, or replacing the NUCLEAR HEAD. All three of which seemed pretty damn important when Ripley was doing them earlier.
The French instructions do at least remind us to check that things are secured. Indeed, just for good measure, they remind us to check them twice. This is commendable belt-and-braces stuff on an average day, but it's not really what you want when you've got thirty seconds left before inexorable destruction.
In a further example of the famous French passion for safety, the instructions also ask us to verify that the detonation is active (which it won't be, because we forgot to activate the push button switch). However, they completely neglect to mention that the process needs to be repeated for the other three holds.
In short: this is a localization disaster. I mean, it would be bad at the best of times – but we've just lost our cat to a xenomorph. We're in no fit state to cope with dodgy French.
Thanks to this truly awful piece of translation, Ripley fails to abort the detonation process in time, and the five-minute countdown to total detonation continues:
Although we do cut briefly to a screen that still shows a countdown of over ten minutes:
The five minutes to destruction are typographically uninteresting. Ripley makes it to the escape shuttle with no sign of the alien. She even finds her not-dead cat along the way. With seconds remaining, her shuttle detaches from the Nostromo, blasting away just before either 20 (or 200) million tons (or tonnes) of mineral ore explode into tiny fragments:
Just before the explosion, we see a brief ENVIRON CTR PURGE display onboard the shuttle:
This screen might be familiar to fans of Ridley Scott's other classic sci-fi movie, Blade Runner, which has a remarkably similar screen onboard a flying police vehicle:
There's one more typographic anomaly to be found during the self-destruct sequence. Remember when Ripley was punching NUCLEAR BOLT CODE No 1 into that funny-looking keyboard? Well, it turns out to be a very strange keyboard indeed. Here's the central panel for your closer inspection. I've Photoshopped a composite image from several frames, to make it easier to see all of the keys without Ripley getting her hand in the way:
The first key of note is "PRANIC LIFT 777":
Prana is the Sanskrit word for "life force". It's a cosmic energy believed to come from the sun, and to connect the elements of the universe.
We also have "PADME", a possible variant of Padma, Sanskrit for "lotus flower":
…and "LINGHA" (or Lingam), a representation of the Hindu deity Shiva:
Lingha is balanced by "YONI", Sanskrit for "womb":
Yoni is a symbol for the Hindu Divine Mother, an embodiment of Shakti, the concept of divine feminine creative power. This might explain why we also have a "SHAKTI EXCESS" button on the keyboard:
But perhaps the oddest key on the keyboard is this one in the top right hand corner – "AGARIC FLY":
Now, Agaric Fly – or Fly Agaric, as it's more commonly known – is a mushroom and psychoactive fungus known for triggering a hallucinogenic experience:
You might think this is an odd thing to be written on the keyboard of an emergency destruction system. You would be correct.
This might also explain why the key to the left of "AGARIC FLY" is labelled, simply, "TRIP":
So why are all of these strange references on the Nostromo's emergency destruct keyboard? Well, according to the Alien Explorations blog, designer Simon Deering needed some complex-sounding labels for the keyboard at short notice. He was reading The Secret Doctrine by Helena Blavatsky, a Russian philosopher and occultist, at the time of filming. Blavatsky's book attempts to explain the origin and evolution of the universe in terms derived from the Hindu concept of cyclical development. Deering found his inspiration in its pages, and the Nostromo's odd keyboard was born.
Back to the action. Ripley is safely on board the shuttle, with no sign of the alien. But wait – just when we think all is rosy, it turns out that the damned thing has also stowed away on the shuttle. Gah!
Thankfully, this shuttle comes equipped with a system that pipes highly toxic and flammable SPECIAL GASES into the main cockpit at the press of a button:
It's not immediately clear why this is a particularly useful or safe feature to have in a shuttle. Nonetheless, it certainly comes in handy when there's an alien hiding in the wall.
Ripley starts by venting some Iodine Pentafluoride and Methyl Chloride. This doesn't seem to have much effect. It's a whole different matter when she tries the Nitrosyl Chloride, however:
According to Wikipedia, Nitrosyl Chloride is "very toxic and irritating to the lungs, eyes, and skin". I don't know whether the alien actually has any of these organs, but he definitely doesn't like Nitrosyl Chloride one bit, and starts squealing like a frog in a roomful of cats:
(I'm going to ignore the fact that Nitrosyl Chloride gas is actually yellow. It's working, and that's all that matters.)
The gas finally forces the alien out into the open. A forward-thinking Ripley (who's already strapped herself into a chair) opens the shuttle's exterior door, and blasts the alien into space. Go Ripley!
In her final recorded message before hypersleep, Ripley notes that she is the sole survivor of the Nostromo. What she forgets to mention is that she has not once in the past two hours encountered any Eurostile Bold Extended.
We shouldn't let this worry us as she settles down to sleep, however. There's a ton of Eurostile in Aliens, so all will be made right. But that, my friends, is a story for another day.
For now: goodnight!
FUN FACT: An expanded version of this article appears in the Typeset in the Future book, available on December 11 2018. You can pre-order it now on Amazon.

subset: commoncrawl


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I know the English use 'redundant' where we USns would say 'laid off' but the question came up whether they would use 'redundant' where we would say 'obsolete' in reference to, say, a 5-year old computer.
Let's back up a bit and discuss what David's taken for granted. In AmE a company can lay off its employees but in BrE a company (or a university!) makes its employees redundant. What's a little confusing is that you can be laid off in the UK too, but it means something different. According to this site (among others) a lay-off is expected to be temporary, as opposed to a redundancy in which you really, really lose your job. But this is not the understanding in AmE, where being laid off is the equivalent of BrE redundancy.
In answer to David's question, objects can also be made redundant in BrE--if they've been made worthless, particularly because they've been superseded by something else. Both Better Half and I feel like this is not quite the same thing as obsolete, but we're a bit hard-pressed to explain exactly why. Do others have this intuition?


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(b) Decode regularly spelled one-syllable words. (d) Use knowledge that every syllable must have a vowel sound to determine the number of syllables in a printed word. (e) Decode two-syllable words following basic patterns by breaking the words into syllables.
(5) Know and use various text features (e.g., headings, tables of contents, glossaries, electronic menus, icons) to locate key facts or information in a text.
(2) Identify the main topic and retell key details of a text. (8) Identify the reasons an author gives to support points in a text.
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How to tell a cold from the flu
The common cold and flu are caused by different viruses but can have some similar symptoms, making them tough to tell apart. In general, the flu is worse and symptoms are more intense.
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FLU: Fever is usually present, along with chills, headache and moderate-to-severe body aches and tiredness. Symptoms can come on rapidly, within three to six hours. Coughs are dry and unproductive, and sore throats are less common.
PREVENTION: To avoid colds and flu, wash your hands with warm water and soap after you've been out in public or around sick people. Don't share cups or utensils. And get a flu vaccination — officials say it's not too late, even in places where flu is raging.
TREATMENT: People with colds or mild cases of the flu should get plenty of rest and fluids. Those with severe symptoms, such as a high fever or difficulty breathing, should see a doctor and may be prescribed antiviral drugs or other medications. Children should not be given aspirin without a doctor's approval.
Sources: U.S. Centers for Disease Control and Prevention; Roche, maker of Tamiflu.


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After firing two head football coaches in the past two years, Colorado has no interest in firing another one any time soon.
So, as the Buffs go on the hunt for a new head coach, they are believed to be searching for someone who has had recent success as a college head coach and someone who could make a bit of a splash nationally.
Following Sunday's announcement that CU has fired head coach Jon Embree, athletic director Mike Bohn said Monday he had a top target in mind and that man is currently a head coach at another college program. He also said he has not talked to that coach about the CU job.
"I think every AD has a list of candidates that they'd love to have in the event there is a change," he said. "We do, but we'll see if we can pull it off."
Certainly there's no guarantee CU will get its top choice. The Buffs are, after all, one of nine BCS schools — and one of 12 FBS schools — currently searching for a head coach.
To compete with those schools, and to compete with their Pac-12 rivals, the Buffs plan on spending more money this time around.
Embree was, by far, the lowest paid head coach in the Pac-12, making about $750,000 annually. According to coacheshotseat.com, a website that tracks coaching moves around the country, Embree was the lowest paid coach in the BCS. Embree was also the lowest paid Division I coach on the Front Range, with Air Force, Colorado State and Wyoming, all Mountain West schools, writing bigger checks to their coaches.
Embree's contract did include several incentives, but Bohn said "we are going to change that dynamic," meaning the next head coach will likely have a larger base salary. Bohn said the CU administration is on board with paying what it takes to get the right coach.
"I have no doubt about it," he said.
So, who is the right coach? Speculation is well under way, and here is a list of six coaches the Buffs could target during their search:
Gary Andersen, Utah State head coach
In his fourth season, Anderson led the No. 20 Aggies to the WAC title and a 10-2 record. He is 25-24 in four seasons and will go to his second straight bowl game next month. Prior to his arrival in 2009, Utah State had 11 straight losing seasons and had not been to a bowl game since 1997. Before Utah State, Anderson spent five years as the defensive coordinator at Utah.
Tim DeRuyter, Fresno State head coach
The Bulldogs are 9-3 and headed to a bowl game in his first season at the helm (after going 4-9 in 2011). He's well known for his ability to turn around a struggling defense, having served as defensive coordinator at Ohio (two separate times), Nevada (co-DC), Air Force and Texas A&M before coming to Fresno State. The Bulldogs had the No. 1 offense and No. 2 defense in the Mountain West this season.
Bob Diaco, Notre Dame defensive coordinator
If CU hired someone with no head coaching experience, Diaco would be near the top of the list. He is the architect of the defense that has led the Irish to this season's BCS National Championship game. He has been successful in several other coaching stops, as well.
Mike MacIntyre, San Jose State head coach
MacIntyre knows how to turn around a struggling team. He took over a team that went 2-10 in 2009. Although he went 1-12 in 2010, he led the Spartans to 5-7 in 2011 before this year's 10-2 resurgence. MacIntyre also has nine years of experience as a college defensive coordinator, as well as five seasons of NFL experience.
Greg Roman, San Francisco 49ers offensive coordinator
Another top-flight assistant with no head coaching experience. He's been instrumental in the development of 49ers quarterback Alex Smith the past two years and has 15 years of NFL experience. He also worked as a top assistant coach at Stanford in 2009 and 2010, aiding in the development of quarterback Andrew Luck.
Jeff Tedford, currently unemployed
He was recently fired by California after 11 years as the Golden Bears' head coach. Although his Bears were 3-9 this year, he went 82-57 in Berkeley, with eight bowl game appearances and nine winning seasons. Prior to taking the reins at Cal, he spent nine years as an offensive coordinator at Fresno State and Oregon.
Surely, the Buffs will look beyond this list. Kent State's Darrell Hazell is an attractive option and Miami's Al Golden could be looking to get out with the Hurricanes facing NCAA sanctions (for violations under the previous staff).
Bohn dismissed the notion of hiring former Ohio State coach Jim Tressel, who was fired in 2010 after severe NCAA punishments were handed down to the Buckeyes. Tressel has a show-cause penalty through 2016, meaning any school that hires him would be subject to NCAA sanctions and would be constantly on the NCAA radar.
It's also safe to say the Buffs would steer clear of high profile coaches Butch Davis and Bobby Petrino, as both of them carry significant baggage. Dave Doeren (Northern Illinois), Sonny Dykes (Louisiana Tech), Gus Malzahn (Arkansas State) and Willie Taggart (Western Kentucky) are all current head coaches with solid credentials, but they aren't likely to land in Boulder, either.
A source in the CU athletic department also said Air Force coach Troy Calhoun isn't a likely successor to Embree. After six bowls in six seasons, Calhoun would be a good candidate for the Buffs, but is believed to be very happy at Air Force.
The task ahead of Bohn and his staff is to find someone who will be happy at CU.
Follow Brian on Twitter: @BrianHowell33.


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How To Rotate Child Support Modification PDF
Easy-to-use PDF software
Edit and Rotate Document Pages Easily
PDF format has a lot of advantages. Still, some users think that it can be difficult to edit documents without downloading any software and installing it on your hard drive. The truth is that today all the necessary editing operations can be easily perform online. in fact, you are able to create, edit, save and share any document without leaving your web browser. Moreover, you can do it from any computer, tablet or phone. all you need is to be connected to the internet.
Rotate Child Support Modification PDF online
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in order to rotate Child Support Modification PDF online, browse for a file on your device, add it from a cloud storage (Dropbox, Google Drive, iCloud, etc.) or email.
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What is the "Right Way" to taste a wine?
Learning how to taste wines is a straightforward adventure that will deepen your appreciation for both wines and winemakers. Look, smell, taste – starting with your basic senses and expanding from there you will learn how to taste wines like the pros in no time! Keep in mind that you can smell thousands of unique scents, but your taste perception is limited to salty, sweet, sour and bitter. It is the combination of smell and taste that allows you to discern flavor.
Look: Check out the Color and Clarity.
Pour a glass of wine into a suitable wine glass. Then take a good look at the wine. Tilt the glass away from you and check out the "color" of the wine from the rim edges to the middle of the glass. What color is it? Look beyond red, white or blush. If it's a red wine is the color maroon, purple, ruby, garnet, red, brick or even brownish? If it's a white wine is it clear, pale yellow, straw-like, light green, golden, amber or brown in appearance?
Still looking? Move on to the wine's opacity. Is the wine watery or dark, translucent or opaque, dull or brilliant, cloudy or clear? Can you see sediment? Tilt your glass a bit, give it a little swirl – look again, is there sediment, bits of cork or any other floaters? An older red wine will be more translucent than younger red wines.
Our sense of smell is critical in properly analyzing a glass of wine. To get a good impression of your wine's aroma gently swirl your glass (this helps vaporize some of the wine's alcohol and release more of its natural aromas) and then take a quick whiff to gain a first impression.
Still Smelling. Now stick your nose down into the glass and take a deep inhale through your nose. What are your second impressions? Do you smell oak, berry, flowers, vanilla or citrus? A wine's aroma is an excellent indicator of its quality and unique characteristics. Gently swirl the wine and let the aromas mix and mingle, and sniff again.
Finally, take a taste. Start with a small sip and let it roll around your tongue. There are three stages of taste: the Attack phase, the Evolution phase and the Finish.
The Attack Phase, is the initial impression that the wine makes on your palate. The Attack is comprised of four pieces of the wine puzzle: alcohol content, tannin levels, acidity and residual sugar. These four puzzle pieces display initial sensations on the palate. Ideally these components will be well-balanced one piece will not be more prominent than the others. These four pieces do not display a specific flavor per se, they meld together to offer impressions in intensity and complexity, soft or firm, light or heavy, crisp or creamy, sweet or dry, but not necessarily true flavors like fruit or spice.
The Evolution Phase is next, also called the mid-palate or middle range phase, this is the wine's actual taste on the palate. In this phase you are looking to discern the flavor profile of the wine. If it's a red wine you may start noting fruit – berry, plum, prune or fig; perhaps some spice – pepper, clove, cinnamon, or maybe a woody flavor like oak, cedar, or a detectable smokiness. If you are in the Evolution Phase of a white wine you may taste apple, pear, tropical or citrus fruits, or the taste may be more floral in nature or consist of honey, butter, herbs or a bit of earthiness.
The Finish is appropriately labeled as the final phase. The wine's finish is how long the flavor impression lasts after it is swallowed. This is where the wine culminates, where the aftertaste comes into play. Did it last several seconds? Was it light-bodied (like water) or full-bodied (like the consistency of milk)? Can you taste the remnant of the wine on the back of your mouth and throat? Do you want another sip or was the wine too bitter at the end? What was your last flavor impression – fruit, butter, oak? Does the taste persist or is it short-lived?
After you have taken the time to taste your wine, you might record some of your impressions. Did you like the wine overall? Was it sweet, sour or bitter? How was the wine's acidity? Was it well balanced? Does it taste better with cheese, bread or a heavy meal? Will you buy it again? If so, jot the wine's name, producer and vintage year down for future reference.
Why do I need to let my wine "Breathe"?
The whole concept of letting wine breathe, or aerate, is simply maximizing your wine's exposure to the surrounding air. By allowing wine to mix and mingle with air, the wine will typically warm up and the wine's aromas will open up, the flavor profile will soften and mellow out a bit and the overall flavor characteristics should improve.
Which Wines Need to Breathe?
Typically red wines are the ones to benefit most from breathing before serving. However, there are select whites that will also improve with a little air exposure. In general, most wines will improve with as little as 15-20 minutes of air time. However, if the wine is young with high tannin levels, it will need more time to aerate before enjoying. For example, a young cabernet Sauvignon will likely require around an hour for proper aeration and flavor softening to take place. Not that you cannot drink it as soon as it is uncorked, but to put its best foot forward give it more time to breathe. Mature wines are another story all together. These wines will benefit most from decanting and then will only have a small window of aeration opportunity before the flavor profiles begin to deteriorate.
Some erroneously believe that merely uncorking a bottle of wine and allowing it to sit for a bit is all it takes to aerate. This method is futile, as there is simply not enough room (read: surface area) at the top of the bottle to permit adequate amounts of air to make contact with the wine. So what's a Wine Lover to do? You have two options: Decanter or Wine Glass.
Decanter – use a decanter with a wide opening at the top to pour your bottle of wine into. The increased surface area is the key to allowing more air to make contact with your wine. Keep this in mind while setting up proper "breathing" techniques for your favorite wine.
The Wine Glass – Pour your wine into wine glasses and let it aerate. This is certainly the low-maintenance method and typically works quite well. Just be sure to keep the glass away from the kitchen commotion, while it breathes in peace. A good tip for pouring wine into glasses make sure that you pour into the center of the glass with a good 6-10 inches of "fall" from bottle to glass to allow for further aeration during the actual pour.
In general, the Aeration Rule of Thumb: the more tannins a wine has the more time it will need to aerate. Lighter-bodied red wines that have lower tannin levels, will need little if any time to breathe.
How do I know if my wine is "corked"?
Fresh picked blueberries, juicy peach, toasted vanilla bean, or mold, which one does not belong? The first three flavors are great descriptors for wine; unfortunately, the last one is a pretty accurate descriptor for a corked bottle of wine. Nuances of mildew, no matter how slight, are an indication of TCA, a bleach-loving mold that infects corks and bottling facilities. As revolting as a corked bottle can taste, TCA starts out as a loss of fruitiness with no ill flavor. So that highly recommended, highly disappointing bottle may still be a great wine, just not the one you opened.
Even though it tastes like it could kill you, you can drink the wine. A faint cardboard flavor can be tolerated when the wine is still tasty enough to drink. When you encounter a bottle that is too far gone don't dump the wine down the drain. Pour it back into the bottle, put the cork back in, and return it to the store where you purchased it. Retailers get credit for bad bottles of wine. Some experts estimate that one bottle in twelve is tainted with TCA. Just because one bottle has it, doesn't mean that another bottle from the same case does too. TCA mold takes effect by coming in contact with the wine in the bottle. Mold on the top of the cork is usually not an indication that the bottle is corked.
Aaron Zimmerman
[Mr Zimmerman owns and operates Liquors Galore, 1418 Avenue J (between 12th and 13th Streets); Brooklyn, NY 11230-3702; Telephone: 718.338.4166. The above post is part of a multi-part series we'll be posting once a week on these pages]


text: The Power of Compound Interest Learn how to harness the power of compound interest for your investments. Have A Question About This Topic? Name Email Address Message Thank you! Oops! Related Content Buying vs. Leasing a Car Whatever your relationship with your car, it may eventually come time for a new one. Familiarize yourself with your options. Your Cash Flow Statement A presentation about managing money: using it, saving it, and even getting credit. Understanding Marginal Income Tax Brackets An inside look at how marginal income tax brackets work.


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Vegan diet and the flu epidemic
The flu epidemic has invaded 48 states, overwhelming medical facilities, exhausting vaccine supplies, and killing 29 children and thousands of seniors. Both the problem and solution to this disaster hinge on how we relate to animals raised for food.
Indeed, 61 percent of the 1,415 pathogens known to infect humans originate with animals. The more recent, contagious, and deadly viruses among these include Asian, dengue fever, Ebola, H5N1 (bird), HIV, SARS, West Nile, and yellow fever. The pandemic "Spanish" flu of 1918, killed 20-50 million people worldwide, and the World Health Organization predicts more pandemics in the future.
Today's factory farms are virtual flu factories. Sick, crowded, highly stressed animals in contact with contaminated feces and urine provide ideal incubation media for viruses. As these microbes reach humans, they mutate to defeat the new host's immune system, then propagate by contact.
Each of us can help end animal farming and build up our own immune system against the flu by replacing animal products in our diet with vegetables, fruits, and whole grains. These foods don't carry flu viruses, or government warning labels, are touted by every major health advocacy organization, and were the recommended fare in the Garden of Eden.
Walt Oster


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At Wired's Danger Room, David Axe and Noah Shactman wrote of Osama bin Laden's death at the hands of U.S. Special Operations: "Depending on which version is true, Pakistan either had a direct role in the risky, bloody raid … or no role at all." More to the point:
The crash occurred near the Pakistani Military Academy in Abbottabad, according to the report, highlighting Bin Laden's long-term proximity to Pakistan government forces — and thus the great extent of his local protection.
In other words, the size of the compound alone meant its inhabitants must have been known to the Pakistani authorities, yet they weren't the source of the information leading to the attack on the compound.
Meanwhile MSNBC reports: "The U.S. was conducting DNA testing and used facial recognition techniques to help formally identify him, Reuters reported. Results of the DNA tests were expected to be available in the next few days." From another report: "ABC News just reported that the government used a DNA sample from the brain of a deceased bin Laden sister held by a Boston hospital to match the DNA from bin Laden's body."
Which presumably is why the rumor arose that he was killed earlier in the week and the news withheld until the body was identified. Whatever the case, burying bin Laden's body at sea limits the number of people who saw the dead body. It fuels those who stand ready to make the case he wasn't really killed perhaps because they think he was/is a CIA asset. Nor did Al-Arabiya TV help when it ran a Photoshopped image superimposing mortal injuries on a photo of bin Laden taken when he was alive.
Meanwhile, for those who fear a bout of blowback, it might be time to duck and cover, if you believe disclosures in the latest WikiLeaks dump. From the International Business Times
Shortly after 9/11, Al Qaeda had warned to set off a "nuclear hellstorm" if Osama bin Laden is ever captured or killed, according to U.S. government documents that were leaked just last month by Wikileaks.
Wikileaks' files show that al Qaeda's senior leader Khalid Sheikh Mohammed, who was detained and interrogated, had spilled the beans that the terrorist group had, indeed, hidden a nuclear bomb in Europe and that it would be detonated if Osama bin Laden is captured or killed.
While this is, no doubt, bravado, it does highlight an opportunity missed. If we were able to bring bin Laden back alive, we might have extracted information from him about his attempts to secure nuclear-weapons — the know-how, the technology, and the fuel. No, of course not through torture — conceivably it might have been something he'd have wanted to brag about.
Sure, coaxing bin Laden out of his compound might have been unrealistic because it would have required rustling up all his wives, children, and grandchildren that could be found, lining them up outside his compound, and threatening to kill them. Naturally, we wouldn't, but it would have been up to him to call our bluff. From the viewpoint of those concerned with nuclear terrorism, something along those lines might have been worth trying.


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4-Channel Fiber Optic Multiplexer in PXI or PXIe format using high performance MEMS switching technology
Estimated shipping is 20 to 40 working days
Please contact sales office for availability
The 40/42-850A-014-M50 is a PXI/PXIe 4-channel multiplexer with FC/APC connectors and is part of Pickering's range of PXI Fiber Optic MEMS Switching modules. They are available in many high density formats with a choice of different connector styles to suit most applications: FC/APC (for optimal performance), FC/PC and SC/PC for general applications and LC and MU for high density applications. They are also available with an optional hardware interlock which, when activated, will return all optical switches to their default unpowered state.
Fiber optic multiplexers create a signal path by redirecting the optical signal into a selected output fiber. This is achieved using Micro-Mechanical Mirrors driven by a highly precise mechanism and activated via an electrical control signal.
If no specifications are present, please see the product datasheet in this section.
Please note: In some cases, for products like our Scalable LXI Chassis, the specifications can be found on the datasheets for the associated plugin modules that are inserted into these chassis. To find these modules, go to the "Also in the Range" link above.
Need to narrow down your search by specifications, try our Product Selector
|Product Type:
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This tool will help you narrow down our offering to get you the correct switch and simulation solution you need.
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ClickFunnels Vs Leadpages – A Biased Review
- September 23, 2022
ClickFunnels vs. Leadpages: Why Clickfunnels is the Better Choice
If you are a business owner who runs your business completely online, you know the struggles of engaging and retaining your customers.
For eCommerce or Direct Sales businesses, it can be even more complex to maintain a website that has all the bells and whistles you want without the technical training of a programmer.
It does not matter if you are a blogger, consultant or service-based business. If you have a problem with engagement and getting your prospects and customers to keep coming back to your site, I think it is time for you to rethink the way you build your website.
I may have the answer to your problem. You, my friend, need to begin using a landing page platform. But, it can't just be any old landing page platform. It needs to do more without asking you to do more, you know?
They need to be able to create capture pages that will help you engage more with your customers. On top of that, these pages need to be sale-oriented and have a ton of different sales "funnels" that will direct customers where you need them to be. With these platforms, you can do the following but are not limited to:
Create mobile responsive landing pages
Have options for subscribers to submit for immediate email opt-ins
Choose from various templates and themes to individualize your site
eCommerce options that are compatible with major retail services
Ability to host webinars
Integration of social media channels
No matter the type of business you have, there is definitely a landing page platform out there for you. The leading platforms out there are Leadpages and ClickFunnel. Between the two, I would highly recommend ClickFunnel because, hey I said so. Actually, it really is the better of the two and let me tell you why.
ClickFunnels is for Newbies
Here is the 411 on this. We have all been there where we've almost picked up our computers and threw them out the window because they are so frustrating to deal with sometimes, right? Technology is not always my friend, to say the least. ClickFunnels was developed with the newbie in mind.
Us entrepreneurs may not have the "proper" training to code, program or other fancy techy words so we rely on engineers to do all this stuff for us. But, if you are a growing small business, you aren't necessarily going to run a hiring campaign for the top programmer out there.
ClickFunnels allows users to build landing pages with ease.
Leadpages can be a little cumbersome for an amateur who is trying to learn the ropes of the course. The complexity is more suitable for programmers and let's be honest, not every small business has the means to pay for one. Another thing I should mention is that ClickFunnels has a lot more features than Leadpages, but it is still easier to use.
For a blogger who specializes in developing recipes, I doubt she has the time to learn about coding. Let the woman cook and ClickFunnels will take care of the rest!
We like to do many things as combinations. We bundle our internet and cable packages. We combine our car and home insurance. We possess smartphones. All these things are a result of combined resources that we would rather access from one central area.
With ClickFunnels, you get all the different funnels in one place: order forms, website hosting, membership sites and shopping carts.
One specific feature that ClickFunnels has that Leadpages lacks is that of the automatic email responder. When a customer opts to receive emails from your site, they will immediately get a "Thank You" pop-up as well as a confirmation email in his/her inbox.
What else is amazing about this all-in-one concept is it takes away the guessing game of how to integrate all of these functions on a website. So, not only are the features simplified, but they are all connected without requiring you to learn how to do it. All of it is automatic and included.
Say goodbye to pulling your hair out and hello to efficiency!
The name itself should give you a clear sense of what it does. A funnel is meant to bring all components of a liquid and combine it in one container, right? This is exactly what it can do for your website, easier and better. Plus, I may like it more just because it has the word funnel in it and who doesn't love a good funnel cake?
What Are You Waiting For?
Have I convinced you yet? Well, here is some more pertinent information:
ClickFunnels has taken the online marketplace by storm. As other website hosting and landing page platforms have made great incremental improvements, ClickFunnels has taken all of those improvements and surpassed its competitors.
It has made great strides towards making the landing page experience efficient and innovative for any online business.
The bottom line is that to be a successful online business, you cannot sell from a flat website.
Leadpages still does its job of being a landing page platform but ClickFunnels does the same thing better. It creates sales funnels and offers ways for you to personalize your pages versus using universal templates from Leadpages.
You need ClickFunnels to simplify the process and this saves you time and money. Score!
Unlike its counterpart, ClickFunnels is the only tool that provides you with all the resources to market, sell and deliver your products online. You don't have to have a degree in IT or be this amazing website designer. All you need is a vision and this amazing tool.
Plus, it all happens in one place. There is no need to add one thing here to make another thing work there and so on. You are now able to cut down your time of stress and anxiety from trying to figure out all the technicalities behind building a landing page.
Source by April Lynn Ray
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Behind the Scenes with Modern Quilt Studio
Conscious Creativity
Many people may stare at the cereal box during breakfast, but few turn the encounter into a contemporary quilt. "We are always in search of inspiration from the time and place in which we live," Bill explains. "I don't think we'll ever be trapped in a particular style," Bill says from their Oak Park, Illinois, home and FunQuilts studio just outside Chicago. There, they thrive as quilt artists, fabric designers, inspirational coaches, authors, lecturers, and charitable givers.
To learn more about Bill and Weeks and their designs, visit their Web site and blog.https://www.funquilts.comhttps://www.craftnectar.com
Photo: Weeks and Bill are each other's partner and critic; Weeks holds "Marquee" and Bill holds "XOXO," both from their book The Modern Quilt Workshop..
Love, Learn, Serve
For Bill and Weeks, quilt designing is the lifestyle they chose after leaving the corporate world. "Total commitment makes it work," Weeks says. They also are committed to their daughter, Sophie, who is increasingly eager to "play" with fabrics. Though frustrated by their many ideas and lack of time to pursue them-Weeks and Bill are content with their course to "love, learn, and serve"-especially as it applies to quilting. "Do a little of these daily," Weeks advises, "and you'll be happy."
Photo: The studio is in the basement of the Ringle-Kerr home. On wall-size corkboards here and in the kitchen, they hang "pieces of their lives" for inspiration.
Quilting in the Present
"We're always asking ourselves this question: What does it mean to be a quiltmaker here and now?" Weeks says. FunQuilts is a visible part of the mainstream, with its quilts appearing in national magazines, as American Folk Art Museum pieces, on the beds of inns and private estates, and even on the cover of a math textbook. They see their role teaching and coaching people to find their voice. "It's so much more invigorating to give people the design skills to execute what's in their minds, to give form to their ideas," Bill says.
Photo: Bill and Weeks document ideas for their latest fabric.
Inspiring Originality
"The most important thing is having original ideas. We can always work backwards and figure out technique," Weeks says about their business approach. They apply their philosophy to every teaching opportunity, including a weeklong annual Design Camp at Dominican University in River Forest, Illinois. "Students come here not to attach fabric A to fabric B," Bill says, "but to learn how to execute what's in their minds. They leave both exhilarated and exhausted." Weeks and Bill encourage experimentation with brilliant splashes of original fabrics. In five years, they have designed more than 100 versatile prints that motivate quilters to venture beyond the norm.
Photo: Weeks and Bill's home and studio are a perfect fit, where Frank Lloyd Wright architecture and modern design surround them. Hanging on the wall, the quilt Some Settlement May Occur reveals expert artisanry and design with its colorful tangent circles that are inset, not appliquéd.
Solid Ideas
Sometimes forgotten or viewed as plain Jane, for this pair solids are adventurous friends. Although she and her husband have designed more than 100 printed fabrics, Weeks says some of their most popular quilts are made with just solids. It's not that solids (or prints) are better; it's recognizing that certain quilts are about showing off a fabric you love, while others are about exploring a complicated block or an interesting form.
Photo: Solids allow the graphic "Dash" pattern to shine.
Bending the Rules
Solid fabrics invite improvisation. Unlike most prints, solids don't dictate a certain quilt style or color choice. Use solids to create a stripe or checkerboard pattern in a custom palette. Weeks once used a rug as the basis for choosing colors. She made striped fabric with strips of solids in various widths. After slicing up the yardage and sewing it back together, she ended up with a string quilt.
Photo: Sew your own striped fabric by string-piecing solids.
Lending Support
Once you've experimented with using only solids, it's even easier to see how they play up your favorite print fabrics. Solids can be the perfect accompaniment to border, novelty, hand-dyed, ethnic, and large-scale prints. Like a skilled pianist or backup singer, solids do their job making prints shine.
Photo: Large-scale prints are easier to use when paired with solids.
Spice Market
A blend of spices was the impetus behind this simple yet stunning throw that uses shades of four colors. "In this case, it's a mixture of the many fabrics in the Mendhi fabric line we designed for FreeSpirit. The fabrics capture the spirit of hand-drawn henna body art common in India," Weeks says.
Photo: "Spend time laying out the pieces to ensure rectangles of the same print do not touch each other and the light, medium, and dark values are well-distributed," Weeks says.
Spice Market Color Option
Spice Market inspired Laura Boehnke, quilt tester for American Patchwork & Quilting, to use coordinating florals and tonal stripes in addition to the border prints of large-scale florals on an ombre background.
Photo: Calm, muted colors make for a relaxed central focus on the quilt top, while a dark brown 2"-wide finished border gives it depth.
Call Me Crazy
If you are machine-piecing and machine-quilting, Weeks and Bill recommend that you iron all of your seams open, not to the side. "Pressing seam allowances to one side was important years ago when quilts were only pieced and quilted by hand," Weeks says. "There was more stress on the pieced seams, and quilting through the ironed-over layers stabilized the quilt. Today, a machine-pieced and machine-quilted quilt is so sturdy there is little stress on the seams and no need to press the seam allowances to one side."
Photo: This crisp white-and-blue quilt features improvisationally pieced blocks set in structured rows.
Call Me Crazy Color Option
The lush tones of olive, rust, and fuchsia highlight quilt tester Laura Boehke's two-row version of Call Me Crazy. "The prints I used to make the crazy-pieced blocks have a lot of movement," Laura says. "I used a black-and-orange batik to frame the rows."
Photo: Fabrics are from the Matrix and Bali Deep Dark Secrets collections, both for Benartex.
Kid in a Candy Store
Bill and Weeks felt like kids in a candy store when choosing the fabrics for this simple throw. "This quilt is a great way to use up fabrics you've accumulated, as well as a great reason to head to your local quilt shop to get new ones," Weeks says.
Photo: When selecting fabrics, look for tone-on-tone prints. Avoid fabrics with directional prints or large-scale patterns. The goal is to create blocks that look unified.
Balancing Act
Big, colorful prints sometimes pose design challenges. It's not just color, print, or texture … the secret is contrast. Weeks says to make sure there's sufficient contrast between each of the pieces or the quilt will be visually confusing. Aim for a clean edge.
Photo: Weeks says to look for contrast in at least one of the following: hue, value, scale, and/or color complexity when choosing fabrics
Balancing Act Color Option
For this table topper or wall hanging version of Balancing Act, Laura Boehnke, quilt tester for American Patchwork & Quilting, chose tone-on-tone fabrics in a variety of colors. The outer triangles in the pieced triangles clearly stand out from one another. "I saved any prints containing black to use in the triangle centers," Laura says.
Photo: A narrow, dark print inner border clearly separates the quilt center from the multicolor print wider outer border, which ties the piece together.
Windy by the Lake
A blustery wind seems to keep the windmill blocks on this throw constantly in motion. Bill and Weeks say the complex geometry of this block lends itself to color variations that dramatically alter the look of the quilt. They always recommend making a test block to make sure you're comfortable with the colors you've chosen and the techniques involved.
Photo: The quilt's well-fitting name reflects the frequent weather forecasts around the designers' home near Chicago.
Windy by the Lake Color Option
Striped fabrics add another layer of complexity in quilt tester Laura Boehnke's version of Windy by the Lake. By placing a stripe deliberately in the kite-shape B pieces when cutting, Laura formed mesmerizing block centers.
Photo: The design pops with a mix of Kaffe Fassett's stripes and shot cottons (in these fabrics, one color of thread is the warp and another color is the weft, producing a solid fabric that looks different depending on the viewing angle) for Rowan by Westminster Fibers.


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We described and predicted spatial variation in marine migration (anadromy) of female Oncorhynchus mykiss in the John Day River watershed, Oregon. We collected 149 juvenile O. mykiss across 72 sites and identified locations used by anadromous females by assigning maternal origin (anadromous versus non-anadromous) to each juvenile. These assignments used comparisons of strontium to calcium ratios in otolith primordia and freshwater growth regions to indicate maternal origin. We used logistic regression to predict probability of anadromy in relation to mean annual stream runoff using data from a subset of individuals. This model correctly predicted anadromy in a second sample of individuals with a moderate level of...
Categories: Publication; Types: Citation; Tags: Environmental Biology of Fishes


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During our recent trip to Portland, while the fish were biting, I managed to sneak away for a walk around the town of Portland.
One building I visited was St Stephen's Anglican Church on the corner of Julia and Percy Streets.
The foundation stone was laid on March 24, 1855.
The Portland Guardian and Normanby General Advertiser reported on the laying of the foundation stone.
I wonder if the reporter still had a job after overlooking the lunch that followed the ceremony.
I was impressed that the organisers of the day were able to secure Lieutenant Governor of the Colony, Sir Charles Hotham for the event. However, after reading some articles about Hotham at Trove, and fitting the Portland visit into his timeline, I realised then he probably was trying to get as far away from Melbourne as possible. The heat was on. I would also imagine the Henty brothers' connection to the church may have also been a factor. Incidentally, Hotham was dead by the year's end, having caught a chill, which exacerbated his already failing health. This extract was published in the Empire (Sydney 1850-1875) on the same day as the report on the foundation stone ceremony and the tone is similar to other reports on Hotham at the time.
Despite the church receiving a bell in 1864 from Stephen Henty, it was not until 1907 that the bell was hung.
Some histories of the bell may tell a different story of the bell's origins as local historian Noel F. Learmonth had to admit in his article of October 29, 1951. After reconfirming the story from 1907 article, he went on to say:
I wish I had read this article before I visited. I would have like to have seen Stephen Henty's stained glass window.
The organ on the wall of the altar has been in place since 1882.
In 1953, the church celebrated its 97th anniversary. The Portland Guardian of May 14, reported on the event and included an extract from one of Noel Learmonth's books "The Portland Bay Settlement". A nice touch was when the congregation sang "Happy Birthday" to the church.
If you are interested in more history of the St Stephen's Church, an article from the Portland Guardian of August 30, 1943, "A Short History of St Stephen's Church from 1869 to Present Day" is worth a look. It also includes a list of the 1943 members of the Ladies Guild.


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Group to establish homeless shelter, transitional housing in Yreka
YREKA – For the past month, a group of citizens has been planning for the establishment of a shelter and a faith-based nonprofit transitional housing program for the homeless in Yreka – an organization that Shane Woods, who spearheaded this effort, described as "a fundamental need in this community."
Woods said he was inspired to launch a grassroots effort to create a transitional housing program and a homeless shelter in Yreka when the ripple effect of an injury he recently suffered left him and his two children homeless.
"My children and I were living in a hotel," said Woods.
When Woods' financial problems stabilized, he said he wanted to address the limited resources available to displaced families in the Yreka area.
Woods said he envisions a program called "Our True Future," and he is currently seeking to gain 501c3 nonprofit status for the organization so fundraising efforts and grant acquisition may begin.
The program will be aimed at helping homeless families get back on their feet and achieve self sufficiency by providing temporary housing, teaching the life skills necessary to succeed and offering spiritual counseling.
Woods partnered with Yreka First Southern Baptist Church (YFSBC) Pastor Bruce Swetnam who rallied other church members and leaders as well as Yreka Community Resource Center Executive Director Michelle O'Gorman.
"We seek to bring an all-around change in their lives that will allow them a chance to break the destructive cycle of chronic poverty," said Woods.
The group has been meeting for brainstorming sessions, and it assembled on Thursday at the Purple Plum Restaurant in Yreka for a final brainstorming meeting prior to its development of an exploratory board.
Swetnam said he hopes mental health professionals from county social service departments as well as those who are knowledgeable about nonprofit agencies will express an interest in serving on the board, or attend the meetings to provide their input and share information about community resources. Swetnam stated that the board will develop a pilot program for transitional housing based on other successful models in rural communities.
Regarding the proposed program's goal to help clients achieve financial independence, YFSBC Council Member Bernard Pinel pointed out that there are few employment opportunities in Yreka.
"We have to accept that reality," said Pinnel.
Yreka Seventh-day Adventist Church Pastor Enoch Brownell stated that the program's clients do not necessarily have to seek a job in the city of Yreka. He said the program will help them learn job searching and interviewing skills, and assist them in embarking on regional job searches. Furthermore, the program will help clients successfully relocate to the region where they have secured employment.
Pinel also commented that the program, when established, will likely have a lengthy waiting list and it is critical for the group to begin planning for the acquisition of a building for a homeless shelter.
Woods stated that he has begun searching for an adequate building to serve as a homeless shelter.
As church pastors, both Swetnam and Brownell commented that they constantly receive calls from homeless people with children who are in desperate need of resources.
O'Gorman stated that the Yreka Community Resource Center gave away 163 commodities bags (toiletries) and food to those in need on Thursday alone.
The group invites members of the community who are interested in serving on the exploratory board or helping the cause in other ways to contact Swetnam at 842-1158 or Woods at 925-5197. Inquiries may also be emailed to email@example.com.
For those who would like to offer immediate help to the homeless population, O'Gorman stated that the Yreka Community Resource Center is in need of sleeping bags and toiletry donations.
The Yreka Community Resource Center is at 201 S. Broadway.


text:
True or false: More people go crazy when the moon is full.
If you said "true," you probably haven't read Atul Gawande's Complications: A Surgeon's Notes on an Imperfect Science (Picador, $14, paperback), a stylish collection of essays by a Boston surgeon and contributor to The New Yorker. Gawande reviewed more than a hundred studies of how lunar phases affect human behavior after his fellow doctors warned him to expect more hospital admissions when the moon was full. He found that researchers had pored over all kinds of evidence – police logs, homicide statistics, emergency room visits and consultations with psychiatrists. The result? There's no relation at all between craziness and the full moon. Some studies have suggested the opposite – that full moon has a beneficial effect on human behavior.
This is the kind of fascinating material regularly dispensed by Gawande, who also wrote the new Better: A Surgeon's Notes on Performance (Metropolitan, $24). The essays in Complications deal with subjects from doctors' mistakes to patients with terrifying diseases like necrotizing fasciitis (known, somewhat misleadingly, "flesh-eating bacteria"). Gawande often takes controversial positions. He challenges the idea – cherished by many doctors – that surgeons need "good hands," saying the continual practice of surgery matters more. (Doesn't the quality of the practice matter? What about education? Can practice make you a great surgeon if you went to a medical school or work at a hospital that's a step away from losing its accreditation?) But part of the appeal of Complications is that Gawande www.gawande.com has the courage to risk saying things other doctors won't and the rhetorical skill to give his views force. He never hides behind a cardboard shield of medical omniscience. And he deals with a wider and more offbeat range of medical topics than physician-authors like Oliver Sacks and Sherwin Nuland. So you may enjoy Complications even if you couldn't get through The Man Who Mistook His Wife for a Hat or How We Die.
© 2007 Janice Harayda. All rights reserved.


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|Lincoln, Abraham, 1809-1865.
|Collected Works of Abraham Lincoln. Volume 3.
|Publication info:
|Ann Arbor, Michigan: University of Michigan Digital Library Production Services
Individuals may freely copy these texts for personal use, research, and teaching (including distribution to classes) as long as this statement of availability is included in the text. Creators of Internet editions of all kinds, including for-profit works, may link to this resource.
Publishers, libraries, and other information providers interested in providing this text in a commercial or non-profit product or from an information server must contact the Abraham Lincoln Association for licensing and cost information.
Scholars interested in changing or adding to these texts by, for example, creating a new edition of the text (electronically or in print) with substantive editorial changes, may do so only with the permission of the Abraham Lincoln Association. Authors of such an edition must secure permission whether the new publication will be made available at a cost or free of charge.
|Print source:
|Collected works. The Abraham Lincoln Association, Springfield, Illinois. Roy P. Basler, editor; Marion Dolores Pratt and Lloyd A. Dunlap, assistant editors.
Lincoln, Abraham, 1809-1865.
New Brunswick, N.J: Rutgers University Press, 1953.
Endorsement: Alonzo Lyons to Lincoln
The document above described was this day mailed back to Alonzo Lyons, Tolono, Champaign County, Illinois.
Call for Springfield Republican Convention


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Where No Man Has Gone Before
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Title :
Where No Man Has Gone Before
Series :
The Original Series
Rating :
Overall Ep :
First Aired :
22 Sep 1966
Stardate :
Director :
James Goldstone
Year :
Writers :
Samuel A. Peeples
Season Ep :
x 02
Main Cast :
James Doohan
Montgomery Scott
DeForest Kelley
Leonard H. McCoy
Walter Koenig
Pavel A. Chekov
Nichelle Nichols
Nyota Uhura
Leonard Nimoy
William Shatner
James T. Kirk
George Takei
Hikaru Sulu
Grace Lee Whitney
Janice Rand
Guest Cast :
Paul Carr
Lieutenant Lee Kelso
Andrea Dromm
Yeoman Smith
Paul Fix
Doctor Mark Piper
Lloyd Haynes
Lieutenant Alden
Sally Kellerman
Doctor Elizabeth Dehner
Gary Lockwood
Gary Mitchell
Eddie Paskey
Lieutenant Leslie
Stunts :
Dick Crockett
as Kirk's stunt double
Hal Needham
as Mitchell's stunt double
Paul Baxley
as Stunt double
Kirk's tombstone has "James R. Kirk" on it, even though his middle initial is later well established as T.
Kirk achieves a winning position in his chess match with Spock because he makes what Spock believes to be an illogical move. How on Earth can a move which puts you into a winning position be considered an illogical one? Contrary to popular belief chess is certainly a game whose great players can and do display a high degree of intuition - the image of the perfect chess player as a cold, calculating emotionless machine is false, or at least very incomplete. So it is indeed plausible that Spock might have a very logical method of playing, always making the moves that he calculated would help him the most - playing like a chess machine plays, in other words - whilst Kirk could be inferior in that respect but still win because he had a greater intuitive feel for the game. That's fine! But to take that down to a level where one individual move will convert the entire game from a what appeared to be a certain loss into what appears to be a certain win is pretty ridiculous.
Dehner's onscreen bio states that she is 21 years old. She must have been some kind of amazing child prodigy, to have achieved a Doctorate that fast! It's technically possible, but by today's standards it would put her within hailing distance of being one of the youngest people ever to get a Doctorate. And on a related topic... one doesn't like to judge, but Dehner really doesn't look like she's 21. (The actress was 29 at the time of filming.)
At one point Dehner says that women professionals "do tend to overcompensate". Um, overcompensate for
, exactly?
Great Moment :
Mitchell's ever increasing powers, coupled with his ever decreasing Humanity, are my favourite parts of this episode.
There's a wonderful little touch just after the teaser when Kirk, Spock and Mitchell board an elevator. The doors close, and then open a few moments later on the bridge. it's done in one uninterrupted shot, making it really look like the elevator has moved from one place to another. In actually fact the wall outside hid the bridge set - when the doors closed, set hands hurriedly moved it out of the way!
When They do board the bridge, the screen is showing a flashy grey/white pattern whilst it is not in use. Could this be the first known depiction of a screen saver?!
Body Count :
At least three - Kelso is strangled by Mitchell, while both Mitchell and Dehner are killed at the end.
Factoid :
This episode does not have the famous "Space, the final frontier" introduction.
Leonard Nimoy is the only cast member from the original pilot to carry over into this episode.
Two explanations have been proposed for the infamous "James R. Kirk" mistake mentioned above. Peter David's novel Q-Squared suggests that this episode takes place in a parallel universe in which Kirk's middle initial is indeed R, whilst Michael Jan Friedman's trilogy My Brother's Keeper shows that on their first meeting Mitchell asked Kirk if he played racquetball, to which Kirk humorously replied that racquetball was his middle name, after which Mitchell always referred to him that way as a running joke.
The Enterprise is travelling near the edge of the Galaxy when it discovers an object floating in space. Beaming it aboard they find that it is an old-style ship recorder, something vessels would jettison in case of an emergency. Since it is damaged Spock surmises that the vessel it belonged to was destroyed. The recorder is triggered and begins transmitting its records.
The officers go to the bridge where Spock scans the message. The recorder was jettisoned by the SS Valiant some 200 years ago. Kirk informs the crew about the discovery and meets Dr. Dehner, a psychologist who is aboard to study the effects the stresses of shipboard life have on Starfleet personnel. Gary Mitchell tries to flirt with Dehner, and is strongly rebuffed - prompting him to refer to her as a "walking freezer unit".
Spock interprets the rest of the Valiant's message, reporting that the ship was thrown clear of the Galaxy by a magnetic storm. Although the record is damage he finds repeated references to ESP capability in Humans, including searches of the computer for information of the subject which he classifies as being almost frantic. Dehner claims that there are some Humans who can see the future or manipulate objects with their minds, though this is never very powerful in Humans. Spock continues with his report - he finds records of deaths aboard the Valiant, more ESP research, and then a self-destruct order by the captain.
Although concerned, Kirk decides to proceed with his mission to probe beyond the edge of the Galaxy and takes the ship ahead. They discover a massive energy barrier and are able to penetrate it, but the ship is badly damaged and both Mitchell and Dehner seem to suffer some physical distress as a result. When Mitchell opens his eyes, they have become silver in colour.
Kirk takes the ship back on impulse power, with the warp drive damaged beyond repair. Spock does some research and finds that both Mitchell and Dehner have been recorded to have a high ESP rating, with Mitchell the highest. Others killed during the encounter with the barrier suffered damage to a specific region of the brain.
Meanwhile Mitchell is reading in sickbay. He claims to feel fine - better than he ever has, in fact. But his manner seems odd, arrogant and almost threatening. After Kirk leaves he begins to read at an extraordinary rate, digesting whole pages in an instant. Spock is monitoring this, and he and Kirk assign security to keep an eye on Mitchell. In sickbay Dehner talks with Mitchell and he begins to demonstrate unusual abilities - causing his life signs to blank out at will, showing his as dead on the monitor. He also reveals that he has not only read by perfectly memorised countless books. Lieutenant Kelso arrives for a visit, reporting on the sad state of the engines. Mitchell warns him to check the starboard impulse engine packs, explaining that there is a problem which they have missed and which will cause the entire deck to explode if they don't correct it.
Kelso checks and reports to Kirk that Mitchell was indeed correct. The officers discuss the situation, with Scotty reporting that the controls in engineering started working on their own a short time ago - and each time it happened, Mitchell could be seen smiling on the monitor. Spock suggests that Mitchell's power is growing exponentially, and that he will inevitably come to see Humans as insignificant compared to himself. They decide to hear for a nearby automated outpost on the planet Delta Vega, hoping to cannibalise it to repair the warp drive and strand Mitchell there where he can do no harm.
They successfully repair the engines, but Mitchell kills Kelso by using his powers to strangle him, and escapes his confinement. He knocks out the others and finds that Dehner has also developed silver eyes - she is undergoing the same transformation, just more slowly since she had a lower ESP rating in the first place. The two escape the station together. When Kirk recovers he takes a phaser rifle and goes after them.
Mitchell and Dehner begin converting part of the desolate surface of Delta Vega into a garden-like environment. Mitchell is declares himself a God, with Humans suitable only to be his worshippers. He tries to kill Kirk when he finds the pair, but Dehner rebels against his arrogant attitude and attacks him with her powers. He survives the attack and strikes back, killing her, but his abilities are temporarily drained. Kirk fights with him, and finally uses the phaser to blast a large rock off a cliff side, killing Mitchell when it falls onto him.
Back on the Enterprise, Kirk grieves over the loss of his friend as the ship heads back on warp drive.
The second pilot is about what one might expect from such an early episode. The network had asked for something "less cerebral", and Gene served up a more action-oriented story in which the hero wins out by having a good old fashioned fist fight with the bad guy. The basic idea works pretty well; it's quite notable that even in this more action styled episode the show avoided the simplistic cliche of an evil alien bad guy... in fact it did so even better than The Cage had; that episode gave us an alien threat, but one which had complex motivations for their actions. Here we get a threat that isn't even alien at all, but rather grows from within. We don't learn a lot about Mitchell but there are telling details - his attitude towards Dehner is especially telling. He takes an immediate run at her, and when rebuffed, instantly classes her as frigid. Even by the standards of the day this probably came across as making him a bit of an ass, but viewed in a modern context it makes him look positively creepy. Kirk is something of a hound dog himself, but even this early you can't see him as being quite so unpleasant about it. In fact the difference is so marked that I actually wonder at how the two can be such close friends.
Having painted him as kind of an asshole at the start, it is all the more believable that he would respond to his rapidly increasing power with arrogance and growing contempt for everyone else. Their response to it represents the dilemma they are stuck in. Logically they should kill Mitchell whilst they still can - yet he hasn't actually done anything to deserve that, so how can it be justified to do so? Killing to protect yourself is justified, but doing to against an attack that has not come and for al you know may not ever come? Rather less so. Stranding him on Delta Vega is something of a compromise, but you have to wonder what would have happened if he had just gone along with it. Would Mitchell just keep getting more and more powerful forever? If so then leaving him on Delta Vega isn't a great idea, because it just means that one day he will be powerful enough to come back on his own, possibly still bearing a grudge. It's a difficult situation without an ideal solution - which is what makes it interesting.
The bit I don't like is Mitchell's reaction to his being marooned. He kills Kelso and knocks out the others, but having done so he just leaves to create his little Eden on the planet. Well, if that's what he wanted to do then why kill anybody? Why not just sit there and do nothing, steadily growing in power as Kirk and the others leave? Once they are away he can easily escape and go make his Eden. But he has to attack so that Kirk has a reason to chase him, and Kirk has to chase him so we can get our action finale and wrap the storyline up. It's a bit "he did it because it's in the script".
There a bit of "early show clunkiness" and a bit of "budget limitations" going on here, too, which I am somewhat forgiving of. The early uniforms just don't look great, the phaser rifle looks absurd - seriously, it looks horribly awkward to hold and use, and the barrel looks like you could bend it by sneezing on the thing. Fortunately we'd never see it again after this. perhaps the most awkward moment is Mitchell's creation of his Garden of Eden setting. It looks like what it is - cheap, tacky, hurried, and very bad. He's so proud of it that you can't help but laugh. Such production limitations are par for the course back then, of course, so we mustn't be too hard on them.
Special Edition
The special edition release features all new effects for the space shots; a much improved depiction of the Galactic barrier and of Delta Vega, along with a nicer view of the Lithium Cracking station. Kirk's phaser rifle blast has also been improved.
© Graham & Ian Kennedy
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